Creating compelling chord charts is not something limited to the select few Logic gurus blessed with score editor chops. You don’t need to be a notation expert to put together nice looking lead sheets.
One of the endearing and ubiquitous qualities of Rhodes sounds is the ability to use the tremolo knob to pan the sound from side to side. We’ve heard it on a million records and love it. It creates a nice wide moving stereo spatial effect that adds a sheen of polish and sophistication to the sound. For an interesting variation, why not modulate the reverb’s position in the stereo field instead of the source?
Our friends at PureMix produce lots of excellent content for Pro Tools users. In their new Jumpstart series they are giving a little extra love to the Logic Pro X community.
In this exclusive pureMix.net Quickstart Series, Logic Pro X Expert, Scott Griffin, guides you from the first time you open the program through to using powerful features such as flex time and flex pitch.
We had a Logic related question come in recently from listener George Majerus via the pro tools expert podcast. It’s a subject that I’ve seen come up over and over in various forums and discussions. Thank you, George, for asking about time stamps and bouncing in mono. Let’s explore the answers:
I am not a keyboard player. Sure, I play a little. I have a little bit of technique. And I know what notes to play and when to play them. But I don’t have the piano technique to execute my ideas at fast tempos. Enter Logic’s tempo sets as a convenient way to switch between a slower part entry tempo, where I can play in my parts with the timing and feel that I want, and a faster playback tempo, where the parts are played back at full speed.
In the first part of this article, we looked at creating an Articulation ID set for a third party library from scratch. Creating articulations on the Articulations pane, and setting the transformation in the Output Pane of the Articulation Set Editor were the first steps, making this articulation set usable for editing articulations after notes were entered. In this article, I’ll show you how to set up create and customize key switch assignments for real-time articulation switching, how to use score symbols for articulation switching, and how to make your Articulation ID set portable between projects.
In this Expert Tutorial, contributor Chris Vandeviver walks through dicing up and creating your own electronic kits by using Flex Time to quickly break up drum loops, exporting the samples back into the Project Browser, and dragging and dropping the samples right into an Empty kit.
In this post, I’ll walk you through the steps involved in creating a basic set of Articulation IDs for the Chris Hein Ensemble String Library. The same principles apply however to any third-party multi articulation based software instrument.
At first glance, Channel EQ looks like a standard surgical “Frequency - gain - width” based multiple band equalizer. While it does do this and does it very well, it is also capable of a lot more. Take a look at some of these tips to brush up on your Channel EQ chops.
In the first part of this series I looked at how to use Drummer’s Feel knob, found on the Details page of Logic’s Drummer Editor, to establish either an ahead of the beat or behind the beat feel for Logic’s Drummer regions. But what if you want to alter the feel of only specific elements within the drum groove? Although this isn’t doable directly from the Drummer editor, fortunately, it is achieved relatively easily using Drummer’s Convert to MIDI function.
The idea of “push” and “pull” with regards to pop based drum grooves refers to playing slightly ahead or behind the beat, in order to impart a slightly different feel to the music. Discover how the Feel knob on the Details page of Logic’s Drummer is used to control this aspect of the groove.
In this free tutorial, Logic Pro Expert contributor Chris Vandeviver demonstrates the many options available for exporting audio out of Logic Pro X.
I had a guitar player over to record recently. We paired up Amp Designer (getting a relatively clean tone, using a slightly tweaked version of the Large Blackface Clean preset) with Eventide’s UltraTap and MangledVerb, and came up with a really interesting and unusual lead guitar tone.
In this article, Eli Krantzberg puts Universal Audio's Pure Plate reverb to work in Logic Pro X.
In this video, sponsored by Universal Audio, I’ve put the UA Manley VoxBox channel strip to work in two very different musical contexts. One is an already tracked rough, raw vocal recorded in a budget home studio. The other a pristine jazz vocal recorded in a state-of-the-art recording facility.
In one of my recent, not infrequent, Skype calls with my Groove3 colleague Doug Zangar, a couple of interesting little-known tips involving the Option key and automation came up. I’d like to share them with you here.
Antares has recently come out with a fantastic upgrade to their flagship pitch correction plug-in, Auto Tune. The new Auto Tune Pro has a completely redesigned interface, making it easier and more intuitive to use than ever.
Logic Pro’s Flex Pitch is a fantastic asset to us all, and it’s free of course. But Auto Tune Pro does things that not only does Flex pitch not do, but no other pitch correction plug-in (that I know of) does!
Logic Pro X lends itself very nicely to the task of processing a mono guitar in stereo. In this video, sponsored by Universal Audio, I’m going to use two different Universal Audio guitar amp plug-ins, the Chandler Limited GAV19T, and the Engel E646VS, to create a nice rich, thick ethereal guitar solo sound.
In this video tutorial, Eli Krantzberg shows you one of the creative ways he likes to use sidechain compression. He'll use Logic Pro X’s Compressor on both a guitar and a bass track, to create a subtle interplay of accents that blend with a drum groove.